THE MATERIALITY OF GREEK VASES - (M.) Langner, (S.) Schmidt (edd.) Corpus Vasorum Antiquorum. Deutschland. Die Materialität griechischer Vasen. Mikrohistorische Perspektiven in der Vasenforschung. (Deutschland, Band 9.) Pp. 127, figs, b/w & colour ills, maps. Munich: Bayerische Akademie der Wissenschaften in Kommission bei C.H. Beck, 2020. Cased, €59. ISBN: 978-3-7696-3780-9.

2021 ◽  
pp. 1-4
Author(s):  
Katerina Volioti
Keyword(s):  
1880 ◽  
Vol 1 ◽  
pp. 202-209
Author(s):  
Cecil Smith

The vase which forms the subject of this memoir has been thought worthy of publication, both because it belongs to a type of which we have as yet but few examples, and also on account of the peculiar interest attaching to the design painted upon it. Its probable age can only be a matter of conjecture, as some of the vases of the class to which it belongs have been considered by archaeologists to be late imitations of the archaic, while on the other hand the internal evidence of the painting would seem to assign it to a place among the earliest class of Greek vases. It is figured on Plate VII.It is a circular dish with two handles, 3 inches high by 11¾ inches diameter, composed of a soft reddish clay of a yielding surface; the painting is laid on in a reddish brown, in some parts so thinly as to be transparent, and in other parts has rubbed away with the surface, so that it has acquired that patchy appearance generally characteristic of vase pictures of this type. The drawing, though crude and in parts almost grotesque, is executed with great spirit and freedom of style,—and thus could hardly have been the work of a late provincial artist—while in the shape of the column and of the wheel of the cart, in the prominent nose and chin which admit of no distinction between bearded and beardless faces, and in the angular contour of the human figures, we recognise features peculiar to an archaic period of art.


1985 ◽  
Vol 89 (3) ◽  
pp. 515 ◽  
Author(s):  
Joseph Veach Noble
Keyword(s):  

1991 ◽  
Vol 10 (2) ◽  
pp. 197-208 ◽  
Author(s):  
IRENE S. LEMOS ◽  
HELEN HATCHER
Keyword(s):  

2002 ◽  
Vol 106 (2) ◽  
pp. 334
Author(s):  
Nigel Spivey ◽  
Francois Lissarrague ◽  
Kim Allen
Keyword(s):  

1951 ◽  
Vol 46 ◽  
pp. 143-150 ◽  
Author(s):  
Gisela M. A. Richter

Professor Wace's many distinguished contributions to archaeology have been in a variety of fields. In all, however, he has kept an eye on the technical side of the problem, which so often illuminates our research. I, therefore, offer this investigation in his honour.After Mr. Charles F. Binns had in 1929 published his theory of the firing of Athenian vases successively under oxidising, reducing, and re-oxidising conditions it became clear that the glaze on Greek vases turned red or black according to the conditions of the firing. This theory has recently been endorsed and amplified by Mr. Theodor Schumann, a ceramic chemist, who, at the instigation of the well-known archaeologist Mr. Carl Weickert, conducted during the war a series of experiments in the chemical laboratory of the Schütte Akt. Ges. für Tonindustrie in Heisterholz, Westphalia, and at long last successfully imitated the Attic black glaze. Like Binns, he used as the only ingredients for the glaze a clay that contained iron—i.e. red-burning—and a small quantity of alkali (potash or soda). His important new contribution was the peptising of the clay, whereby he eliminated the heavier particles. By using only the fluid made of the smaller and therefore lighter particles of the clay, he obtained a glaze of remarkable thinness, equal in quality and appearance to the Attic one.


2021 ◽  
Vol 9 (1) ◽  
pp. 85-114
Author(s):  
Carolyn M. Laferrière

Abstract As gods dance, women twirl in choruses, and men leap in kōmos revels on Athenian red-figure vases, their animate bodies must be made to conform to the rounded shape of the vessels. Occasionally, these vases are even included in the images themselves, particularly within the kōmos revel, where the participants incorporate vessels into their dance as props, markers of space, and tools to engage new dance partners. Positioning these scenes within their potential sympotic context, I analyze the vases held by the dancers according to the ancient viewer’s own possible use of these physical vessels. The symposiasts’ own dextrous interaction with the objects echoes the dancers’ behaviors, so that human and ceramic bodies come together in shared movement. The handling of vases thus suggests a tactile, embodied experience shared between dancers and viewers; by evoking viewers’ familiarity with handling similar vessels, the vase-paintings invite viewers to join in the dance.


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